View allAll Photos Tagged Postkarten!
„Historische“ Postkarten die früher selber von der BVG (= Berliner Verkehrs-Betriebe - Eigenbetrieb von Berlin) herausgegeben wurden.
Berliner Verkehrsmittel – Autobus – Typ: Büssing D2U; Wagen 841, Baujahr 1954 und historischem Nachkriegs-Kennzeichen KB 009 841
Ein großartiges Foto aus Deutschland - Postkarten-Motiv
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Quadratkarten mit Spotlack 1.40 €
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www.filousophie.de/shop/product_info.php?info=p596_f-sQ01...
"Blumenregen"
rain on flowers
================ Back to the group !! =============
3 word comments ~ Post one & Comment with 3 words
P 1 C1
=========================================
here you can see now
and if you like to buy
just found yesterday
29 march 2009
www.filousophie.de/shop/product_info.php?
Blumenregen
Quadratkarte mit Spotlack
14X14 cm
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Brizia said:
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Cada gota busca su lugar, como las aves buscan una ramita donde descansar
Each drop looks for its place, as the birds look for a small branch where to rest
Jeder Tropfen sucht seinen Platz, wie die Vögel auf einem kleinen Zweig, um auszuruhen!
Rate my photo: 1 2 3 4 5 6 7 8 9 10
>>>>>>>> date effi posted 1st [ 10. Sept. 2008 ] <<<<<<<<<
darckr.com/username?username=eagle1effi&format=Large&...
ID; ??
Berg-Aster (Aster amellus)
auch Kalk-Aster , liebt Kalkböden
Austrian postcard by Kellner Postkarten, Wien (Vienna), no. 422. Photo: Jupiter-Film Ges.M.B.H. Bruce Low in Geld aus der Luft/Money from the air (Géza von Cziffra, 1954).
Bruce Low (1913-1990) was a Dutch schlager and gospel singer and actor who had an impressive career in West Germany and Austria.
Bruce Low was born Ernst Gottfried Bielke on a coffee plantation in Paramaribo, Surinam - then part of The Netherlands in 1913. He spent his childhood in Surinam together with his three sisters and brother. Their father, Hermann Moritz Bielke, worked as a missionary with the Herrnhuter Brüdergemeine. Their mother Lydia née Reusch was born in Hong Kong, her father came from Württemberg and was also a missionary. From 1921, Bruce attended grammar school in Zeist, the Netherlands, played tenor saxophone in the school jazz band and was a member of the local church choir. After his final exams in 1932, he studied sports at the Deutsche Hochschule für Leibesübungen (DHfL) in Berlin. But a serious injury while trampolining put an end to his studies as a sports teacher. Instead, he took singing lessons from the singing teacher Jacques Stückgold at the Hochschule für Musik. Low continued his studies in the Netherlands and also sang in a chamber choir. His performing career only took shape after the war. He organised shows for the Americans in the Netherlands, contracted music groups, was an emcee and sang spiritual songs, also for the radio. As a result, he was hired in 1949 for a show with African folk songs in Vienna. He appeared in front of the audience dressed as a black man with blackface in the Al Johnson manner and received an offer for a recording contract. His first records contained Western-style cowboy songs, such as '(Ghost) Riders in the Sky' and 'Heimweh nach Virginia'. In 1950, the man with the sonorous bass voice had his first success in Germany with 'Leise rauscht es am Missouri''. In 1953, more hits followed, such as 'So viel Wind und keine Sege'(So Much Wind and No Sail)" and his legendary 'Tabak und Rum' (Tobacco and Rum). Two years later, 'Das alte Haus von Rocky Docky', the cover version of 'This Ole House' became a box office hit. In 1956 he took third place in the newly created German Hit Parade with "Wenn die Sonne scheint in Texas" and climbed to second place with "Und es weht der Wind". His interpretation of the legendary hit "Es hängt ein Pferdehalfter an der Wand", a cover version of Carson Robison's song 'There's a Bridle Hangin' on the Wall', with which the Dutch band Kilima Hawaiians had already caused a furore in Germany in 1953, became his greatest success.
In 1958 Bruce Low took part in the preliminaries for the Eurovision Song Contest in the Netherlands, with 'Neem Dat Maar Aan Van Mij' but came in 10th. Bruce Low also made several guest appearances as a singer in the popular German-language musical entertainment films of the 1950s and 1960s, for example in Königin der Arena/Queen of the Arena (Rolf Meyer, 1952) with Maria Litto and Hans Söhnker, Wenn am Sonntagabend die Dorfmusik spielt/When The Village Music Plays on Sunday Nights (Rudolf Schündler, 1953) starring Rudolf Prack, or the operetta adaptation Blume von Hawaii/The Flower of Hawaii (Géza von Cziffra, 1953) starring Maria Litto. He also performed his hit songs in several Schlager films. As an actor he appeared in the successful drama Die endlose Nacht/The Endless Night (Will Tremper, 1963) a wounderful one-night-at-the-airport film with Karin Hübner and Harald Leipnitz. He later also appeared in two other films by Tremper, the comedy Sperrbezirk/Sperrbezirk, the business of immorality (Will Tremper, 1966) with Harald Leipnitz and Mir hat es immer Spaß gemacht/How Did a Nice Girl Like You Get Into This Business? (Will Tremper, 1970) starring Playboy bunny Barbi Benton and Broderick Crawford. After the stage musical 'Kiss me Kate' in the German translation by Marcel Prawy became an extraordinary success in the Wiener Volksoper, Prawy went to work on the Leonard Bernstein musical 'Wonderful Town' (1956), also in the Wiener Volksoper. Bruce Low played the lead role of Bob Baker as Olive Moorefield's partner.
The advancing rock and roll wave seemed to end his career, so Bruce Low started writing articles for the Munich magazine Jasmin under the pseudonym Thomas Gallauner. At the "Karl May Festival in Berlin he portrayed Old Shatterhand in 'Winnetou' (1966) and 'Der Schatz im Silbersee' (1968), alongside Gustavo Rojo as Winnetou. At the beginning of the 1970s, his voice was in demand again and he performed mainly new, partly traditional gospels. With songs such as 'Noah' (1971), 'Das Kartenspiel' (1974) and 'Die Legende von Babylon' (1978), he hit the charts once more. He appeared as a guest in several television broadcasts and was asked as a presenter for circus broadcasts. He also had several appearances in the ZDF quiz show Der große Preis. He returned to the cinemas in several films by Rainer Werner Fassbinder. First, he played in the TV two-parter Welt am Draht/World on a Wire (Rainer Werner Fassbinder, 1973) and later in the films Faustrecht der Freiheit/Fox and His Friends (Rainer Werner Fassbinder, 1975) and Die Ehe der Maria Braun/The Wedding of Maria Braun (Rainer Werner Fassbinder, 1979) starring Hanna Schygulla. In 1976 he participated again in the preliminaries of the Eurovision Song Contest, now in West Germany, with the song 'Der Jahrmarkt unserer Eitelkeit' (The Fair of Our Vanity). However, he only reached 9th place among twelve participants and the Les Humphries Singers participated for Germany with "Sing Sang Song and reached 12th place. In the 1980s it became quieter again around the singer. Two years before his death, he published his memoirs under the title: 'Es hängt ein Pferdehalfter an der Wand - das Lied meines Lebens'. In 1990, Bruce Lowe died after a long illness at the age of 76 in a Munich hospital. At his own request, the artist, who was married to his wife Marion, had his body cremated and scattered in a meadow in the Netherlands.
Sources: Stephanie D'Heil (Steffi-Line - German), Wikipedia (Dutch and German), and IMDb.
And, please check out our blog European Film Star Postcards.
Alte Postkarten-Ansicht Via Giovanni Battista Fardella, Muqdisho 1956, da war noch Siyad Bare oder Garibaldi no lo so, jedenfalls waren wir schon immer gut bei der Herstellung von Antiquitäten. #trapani #italia #ghadim #siyadbare #muqdishocadey #postcard #garibaldi #noloso #palme #kolonialstil #fardella
West-German postcard by Heinerle Karl-May-Postkarten, no. 25. Photo: CCC / Gloria-Verleih. Pierre Fromont and Marie Versini in Der Schut/The Yellow One (Robert Siodmak, 1964). Caption: "Monsieur Galingré - for God's sake what are you doing!" - "Don't mind me! Get out of here as fast as you can, or you'll be lost!" - "You'll pay for this, Frenchman, you scoundrel!"
French actress Marie Versini passed away on 22 November 2021 in Guingamp, Brittany. She was best known as Winnetou’s sister. The lovely, beguiling, dark-haired actress had an international film career in the late 1950s and 1960s.
Marie Versini was born in Paris, France, in 1940. She was the daughter of a grammar school teacher. In 1954 she started to follow classes at the Conservatoire National d’Art Dramatique. Her film career started at the age of 16 with a bit role in Mitsou (Jacqueline Audry, 1956), based on the novel by Colette. In 1957 she became the youngest company member of the Comédie Française in Paris. She would play roles in the plays of Moliére, Jean Racine, Beaumarchais, Victor Hugo, and William Shakespeare. Her film debut was followed by parts in the British Charles Dickens adaptation A Tale of Two Cities (Ralph Thomas, 1958) with Dirk Bogarde, and the French TV film Britannicus (Jean Kerchbron, 1959) based on the play by Jean Racine. She played at Eddie Constantine's side in the gangster film Chien de pique/Jack of Spades (Yves Allégret, 1960). She also appeared in the American productions Paris Blues (Martin Ritt, 1961) with Paul Newman, and in Roger Corman's actioner The Young Racers (1963) with Mark Damon. In Italy, she was the love interest of Sean Flynn, the son of Errol Flynn and Lily Damita, in the adventure film Sandokan, la Tigre di Mompracem/Temple of the White Elephant (Umberto Lenzi, 1963).
Marie Versini's breakthrough came in the German/French/Yugoslav coproduction Winnetou I. Teil/Apache Gold (Harald Reinl, 1963). This was a film in a series of European Technicolor Westerns based on the Winnetou-stories of German author Karl May. As in most of these films, French actor Pierre Brice starred as the brave Indian Winnetou, and former Hollywood Tarzan Lex Barker co-starred as his loyal friend Old Shatterhand. Marie Versini played Winnetou’s sister Nscho-tschi, who also became friends with Old Shatterhand. With this role, she became – overnight - tremendously popular in Germany. She would appear in four more Karl May adventures: Der Schut/The Shoot (Robert Siodmak, 1964), Durchs wilde Kurdistan/Wild Kurdistan (Franz Josef Gottlieb, 1965), Im Reich des silbernen Löwen/Attack of the Kurds (Franz Josef Gottlieb, 1965) and Winnetou und sein Freund Old Firehand/Thunder at the Border (Alfred Vohrer, 1966). Besides the Karl May films, she also took part in the popular German productions Kennwort...Reiher/The River Line (Rudolf Jugert, 1964) and Liebesnächte in der Taiga/Code Name Kill (Harald Philipp, 1967), and in the French war film Paris brûle-t-il?/Is Paris Burning? (René Clément, 1966) with Jean-Paul Belmondo.
In the 1970s her activity in front of the film cameras diminished, but she was regularly seen in TV productions. To her later work belong an episode of the serial Paul Temple: Antique Death (1970), Der Lift/The Elevator (Georg Tressler, 1972), Pour une poignée d'herbes sauvages (1973), an episode of the serial Arsène Lupin: Le film révélateur (1974), the serial Die Pawlaks/The Pawlaks (Wolfgang Staudte, 1982) and the serial Die schöne Wilhelmine/The Beautiful Wilhelmine (1984). In 2007 she returned to the screen in the documentary Winnetou darf nicht sterben/Winnetou May Not Die (Oliver Schwehm, 2007), a portrait of Pierre Brice. Marie Versini published two books: her memoirs Ich war Winnetous Schwester/I Was Winnetou’s Sister (2003), and the Western novel Rätsel um N.T/ Mysteries Around N.T. (2008). In 1974 Marie Versini married author and director Pierre Viallet, with whom she often cooperated. He passed away in 2013. On 22 November 2021, Marie Versini died at the age of 81 in Guingamp, Brittany.
Source: marie-versini.de, Thomas Staedeli (Cyranos), AllMovie, Wikipedia (German), and IMDb.
And, please check out our blog European Film Star Postcards.
West-German postcard by Heinerle Karl-May-Postkarten, no. 20. Photo: CCC / Gloria-Verleih. Marie Versini in Der Schut/The Yellow One (Robert Siodmak, 1964). Caption: "Let go of me! If you don't want to help me, then at least let me ride away. Let me go, I want to leave!"
French actress Marie Versini passed away on 22 November 2021 in Guingamp, Brittany. She was best known as Winnetou’s sister. The lovely, beguiling, dark-haired actress had an international film career in the late 1950s and 1960s.
Marie Versini was born in Paris, France, in 1940. She was the daughter of a grammar school teacher. In 1954 she started to follow classes at the Conservatoire National d’Art Dramatique. Her film career started at the age of 16 with a bit role in Mitsou (Jacqueline Audry, 1956), based on the novel by Colette. In 1957 she became the youngest company member of the Comédie Française in Paris. She would play roles in the plays of Moliére, Jean Racine, Beaumarchais, Victor Hugo, and William Shakespeare. Her film debut was followed by parts in the British Charles Dickens adaptation A Tale of Two Cities (Ralph Thomas, 1958) with Dirk Bogarde, and the French TV film Britannicus (Jean Kerchbron, 1959) based on the play by Jean Racine. She played at Eddie Constantine's side in the gangster film Chien de pique/Jack of Spades (Yves Allégret, 1960). She also appeared in the American productions Paris Blues (Martin Ritt, 1961) with Paul Newman, and in Roger Corman's actioner The Young Racers (1963) with Mark Damon. In Italy, she was the love interest of Sean Flynn, the son of Errol Flynn and Lily Damita, in the adventure film Sandokan, la Tigre di Mompracem/Temple of the White Elephant (Umberto Lenzi, 1963).
Marie Versini's breakthrough came in the German/French/Yugoslav coproduction Winnetou I. Teil/Apache Gold (Harald Reinl, 1963). This was a film in a series of European Technicolor Westerns based on the Winnetou-stories of German author Karl May. As in most of these films, French actor Pierre Brice starred as the brave Indian Winnetou, and former Hollywood Tarzan Lex Barker co-starred as his loyal friend Old Shatterhand. Marie Versini played Winnetou’s sister Nscho-tschi, who also became friends with Old Shatterhand. With this role, she became – overnight - tremendously popular in Germany. She would appear in four more Karl May adventures: Der Schut/The Shoot (Robert Siodmak, 1964), Durchs wilde Kurdistan/Wild Kurdistan (Franz Josef Gottlieb, 1965), Im Reich des silbernen Löwen/Attack of the Kurds (Franz Josef Gottlieb, 1965) and Winnetou und sein Freund Old Firehand/Thunder at the Border (Alfred Vohrer, 1966). Besides the Karl May films, she also took part in the popular German productions Kennwort...Reiher/The River Line (Rudolf Jugert, 1964) and Liebesnächte in der Taiga/Code Name Kill (Harald Philipp, 1967), and in the French war film Paris brûle-t-il?/Is Paris Burning? (René Clément, 1966) with Jean-Paul Belmondo.
In the 1970s her activity in front of the film cameras diminished, but she was regularly seen in TV productions. To her later work belong an episode of the serial Paul Temple: Antique Death (1970), Der Lift/The Elevator (Georg Tressler, 1972), Pour une poignée d'herbes sauvages (1973), an episode of the serial Arsène Lupin: Le film révélateur (1974), the serial Die Pawlaks/The Pawlaks (Wolfgang Staudte, 1982) and the serial Die schöne Wilhelmine/The Beautiful Wilhelmine (1984). In 2007 she returned to the screen in the documentary Winnetou darf nicht sterben/Winnetou May Not Die (Oliver Schwehm, 2007), a portrait of Pierre Brice. Marie Versini published two books: her memoirs Ich war Winnetous Schwester/I Was Winnetou’s Sister (2003), and the Western novel Rätsel um N.T/ Mysteries Around N.T. (2008). In 1974 Marie Versini married author and director Pierre Viallet, with whom she often cooperated. He passed away in 2013. On 22 November 2021, Marie Versini died at the age of 81 in Guingamp, Brittany.
Source: marie-versini.de, Thomas Staedeli (Cyranos), AllMovie, Wikipedia (German), and IMDb.
And, please check out our blog European Film Star Postcards.
Postkarte aus Arizona / USA von 2017.
Der Wegekuckuck (Geococcyx californianus), auch Großer Rennkuckuck oder Erdkuckuck genannt, ist ein großer Vertreter der Kuckucksvögel (Cuculiformes) mit sehr langen Beinen, der in Nord. und Mittelamerika vorkommt. Er ist im deutschen Sprachraum auch unter seinem englischen Namen Roadrunner bekannt.
„Historische“ Postkarten die früher selber von der BVG (= Berliner Verkehrs-Betriebe - Eigenbetrieb von Berlin) herausgegeben wurden.
Berliner Verkehrsmittel – Autobus – Typ: RK-Wagen, Baujahr 1913 und historischem Kennzeichen IA - 12801
Bereits 1600 sind erste Modelle in Paris und Florenz bekannt. Von 1633 datiert das älteste Zeugnis zu einem Briefkasten in Deutschland, der im niederschlesischen Liegnitz erwähnt wurde. Mit der Einführung des Massenbriefverkehrs im 19. Jahrhundert wurden Briefkästen eine weit verbreitete Einrichtung. Mit dem Rückgang der Briefpost in Folge des Mailverkehrs und anderer alternativer Kommunikationsmittel schwindet der Briefkasten zum Versand von Post zunehmend aus dem öffentlichen Raum
West-German postcard by Heinerle Karl-May-Postkarten, no. 26. Photo: CCC / Gloria-Verleih. Marie Versini in Der Schut/The Yellow One (Robert Siodmak, 1964). Caption: Chita, who escaped from prison as silently as a wildcat, is fighting for life and limb. Her unsuspecting guard is already a dead man.
French actress Marie Versini passed away on 22 November 2021 in Guingamp, Brittany. She was best known as Winnetou’s sister. The lovely, beguiling, dark-haired actress had an international film career in the late 1950s and 1960s.
Marie Versini was born in Paris, France, in 1940. She was the daughter of a grammar school teacher. In 1954 she started to follow classes at the Conservatoire National d’Art Dramatique. Her film career started at the age of 16 with a bit role in Mitsou (Jacqueline Audry, 1956), based on the novel by Colette. In 1957 she became the youngest company member of the Comédie Française in Paris. She would play roles in the plays of Moliére, Jean Racine, Beaumarchais, Victor Hugo, and William Shakespeare. Her film debut was followed by parts in the British Charles Dickens adaptation A Tale of Two Cities (Ralph Thomas, 1958) with Dirk Bogarde, and the French TV film Britannicus (Jean Kerchbron, 1959) based on the play by Jean Racine. She played at Eddie Constantine's side in the gangster film Chien de pique/Jack of Spades (Yves Allégret, 1960). She also appeared in the American productions Paris Blues (Martin Ritt, 1961) with Paul Newman, and in Roger Corman's actioner The Young Racers (1963) with Mark Damon. In Italy, she was the love interest of Sean Flynn, the son of Errol Flynn and Lily Damita, in the adventure film Sandokan, la Tigre di Mompracem/Temple of the White Elephant (Umberto Lenzi, 1963).
Marie Versini's breakthrough came in the German/French/Yugoslav coproduction Winnetou I. Teil/Apache Gold (Harald Reinl, 1963). This was a film in a series of European Technicolor Westerns based on the Winnetou-stories of German author Karl May. As in most of these films, French actor Pierre Brice starred as the brave Indian Winnetou, and former Hollywood Tarzan Lex Barker co-starred as his loyal friend Old Shatterhand. Marie Versini played Winnetou’s sister Nscho-tschi, who also became friends with Old Shatterhand. With this role, she became – overnight - tremendously popular in Germany. She would appear in four more Karl May adventures: Der Schut/The Shoot (Robert Siodmak, 1964), Durchs wilde Kurdistan/Wild Kurdistan (Franz Josef Gottlieb, 1965), Im Reich des silbernen Löwen/Attack of the Kurds (Franz Josef Gottlieb, 1965) and Winnetou und sein Freund Old Firehand/Thunder at the Border (Alfred Vohrer, 1966). Besides the Karl May films, she also took part in the popular German productions Kennwort...Reiher/The River Line (Rudolf Jugert, 1964) and Liebesnächte in der Taiga/Code Name Kill (Harald Philipp, 1967), and in the French war film Paris brûle-t-il?/Is Paris Burning? (René Clément, 1966) with Jean-Paul Belmondo.
In the 1970s her activity in front of the film cameras diminished, but she was regularly seen in TV productions. To her later work belong an episode of the serial Paul Temple: Antique Death (1970), Der Lift/The Elevator (Georg Tressler, 1972), Pour une poignée d'herbes sauvages (1973), an episode of the serial Arsène Lupin: Le film révélateur (1974), the serial Die Pawlaks/The Pawlaks (Wolfgang Staudte, 1982) and the serial Die schöne Wilhelmine/The Beautiful Wilhelmine (1984). In 2007 she returned to the screen in the documentary Winnetou darf nicht sterben/Winnetou May Not Die (Oliver Schwehm, 2007), a portrait of Pierre Brice. Marie Versini published two books: her memoirs Ich war Winnetous Schwester/I Was Winnetou’s Sister (2003), and the Western novel Rätsel um N.T/ Mysteries Around N.T. (2008). In 1974 Marie Versini married author and director Pierre Viallet, with whom she often cooperated. He passed away in 2013. On 22 November 2021, Marie Versini died at the age of 81 in Guingamp, Brittany.
Source: marie-versini.de, Thomas Staedeli (Cyranos), AllMovie, Wikipedia (German), and IMDb.
And, please check out our blog European Film Star Postcards.
West-German postcard by Heinerle Karl-May-Postkarten, no. 22. Photo: CCC / Gloria-Verleih. Marie Versini in Der Schut/The Yellow One (Robert Siodmak, 1964). Caption: Manach returned to the hostel and dragged Chita on. "Hello, shepherd! I've got a pretty little bird that Schut has been waiting for. I'll take her to a cave now. In the meantime, hold my horse!"
French actress Marie Versini passed away on 22 November 2021 in Guingamp, Brittany. She was best known as Winnetou’s sister. The lovely, beguiling, dark-haired actress had an international film career in the late 1950s and 1960s.
Marie Versini was born in Paris, France, in 1940. She was the daughter of a grammar school teacher. In 1954 she started to follow classes at the Conservatoire National d’Art Dramatique. Her film career started at the age of 16 with a bit role in Mitsou (Jacqueline Audry, 1956), based on the novel by Colette. In 1957 she became the youngest company member of the Comédie Française in Paris. She would play roles in the plays of Moliére, Jean Racine, Beaumarchais, Victor Hugo, and William Shakespeare. Her film debut was followed by parts in the British Charles Dickens adaptation A Tale of Two Cities (Ralph Thomas, 1958) with Dirk Bogarde, and the French TV-film Britannicus (Jean Kerchbron, 1959) based on the play by Jean Racine. She played at Eddie Constantine's side in the gangster film Chien de pique/Jack of Spades (Yves Allégret, 1960). She also appeared in the American productions Paris Blues (Martin Ritt, 1961) with Paul Newman, and in Roger Corman's actioner The Young Racers (1963) with Mark Damon. In Italy, she was the love interest of Sean Flynn, the son of Errol Flynn and Lily Damita, in the adventure film Sandokan, la Tigre di Mompracem/Temple of the White Elephant (Umberto Lenzi, 1963).
Marie Versini's breakthrough came in the German/French/Yugoslav coproduction Winnetou I. Teil/Apache Gold (Harald Reinl, 1963). This was a film in a series of European Technicolor Westerns based on the Winnetou-stories of German author Karl May. As in most of these films, French actor Pierre Brice starred as the brave Indian Winnetou, and former Hollywood Tarzan Lex Barker co-starred as his loyal friend Old Shatterhand. Marie Versini played Winnetou’s sister Nscho-tschi, who also became friends with Old Shatterhand. With this role, she became – overnight - tremendously popular in Germany. She would appear in four more Karl May adventures: Der Schut/The Shoot (Robert Siodmak, 1964), Durchs wilde Kurdistan/Wild Kurdistan (Franz Josef Gottlieb, 1965), Im Reich des silbernen Löwen/Attack of the Kurds (Franz Josef Gottlieb, 1965) and Winnetou und sein Freund Old Firehand/Thunder at the Border (Alfred Vohrer, 1966). Besides the Karl May films, she also took part in the popular German productions Kennwort...Reiher/The River Line (Rudolf Jugert, 1964) and Liebesnächte in der Taiga/Code Name Kill (Harald Philipp, 1967), and in the French war film Paris brûle-t-il?/Is Paris Burning? (René Clément, 1966) with Jean-Paul Belmondo.
In the 1970s her activity in front of the film cameras diminished, but she was regularly seen in TV productions. To her later work belong an episode of the serial Paul Temple: Antique Death (1970), Der Lift/The Elevator (Georg Tressler, 1972), Pour une poignée d'herbes sauvages (1973), an episode of the serial Arsène Lupin: Le film révélateur (1974), the serial Die Pawlaks/The Pawlaks (Wolfgang Staudte, 1982) and the serial Die schöne Wilhelmine/The Beautiful Wilhelmine (1984). In 2007 she returned to the screen in the documentary Winnetou darf nicht sterben/Winnetou May Not Die (Oliver Schwehm, 2007), a portrait of Pierre Brice. Marie Versini published two books: her memoirs Ich war Winnetous Schwester/I Was Winnetou’s Sister (2003), and the Western novel Rätsel um N.T/ Mysteries Around N.T. (2008). In 1974 Marie Versini married to author and director Pierre Viallet, with whom she often cooperated. He passed away in 2013. On 22 November 2021, Marie Versini died at the age of 81 in Guingamp, Brittany.
Source: marie-versini.de, Thomas Staedeli (Cyranos), AllMovie, Wikipedia (German), and IMDb.
And, please check out our blog European Film Star Postcards.
West-German postcard by Heinerle Karl-May-Postkarten, no. 24. Photo: CCC / Gloria-Verleih. Marie Versini in Der Schut/The Yellow One (Robert Siodmak, 1964). Caption: "You have a visitor, gentlemen! Here sit all those who have disobeyed the Schut. That one, in the grey suit, is Monsieur Galingré, a man with a lot of money, haha!"
French actress Marie Versini passed away on 22 November 2021 in Guingamp, Brittany. She was best known as Winnetou’s sister. The lovely, beguiling, dark-haired actress had an international film career in the late 1950s and 1960s.
Marie Versini was born in Paris, France, in 1940. She was the daughter of a grammar school teacher. In 1954 she started to follow classes at the Conservatoire National d’Art Dramatique. Her film career started at the age of 16 with a bit role in Mitsou (Jacqueline Audry, 1956), based on the novel by Colette. In 1957 she became the youngest company member of the Comédie Française in Paris. She would play roles in the plays of Moliére, Jean Racine, Beaumarchais, Victor Hugo, and William Shakespeare. Her film debut was followed by parts in the British Charles Dickens adaptation A Tale of Two Cities (Ralph Thomas, 1958) with Dirk Bogarde, and the French TV-film Britannicus (Jean Kerchbron, 1959) based on the play by Jean Racine. She played at Eddie Constantine's side in the gangster film Chien de pique/Jack of Spades (Yves Allégret, 1960). She also appeared in the American productions Paris Blues (Martin Ritt, 1961) with Paul Newman, and in Roger Corman's actioner The Young Racers (1963) with Mark Damon. In Italy, she was the love interest of Sean Flynn, the son of Errol Flynn and Lily Damita, in the adventure film Sandokan, la Tigre di Mompracem/Temple of the White Elephant (Umberto Lenzi, 1963).
Marie Versini's breakthrough came in the German/French/Yugoslav coproduction Winnetou I. Teil/Apache Gold (Harald Reinl, 1963). This was a film in a series of European Technicolor Westerns based on the Winnetou-stories of German author Karl May. As in most of these films, French actor Pierre Brice starred as the brave Indian Winnetou, and former Hollywood Tarzan Lex Barker co-starred as his loyal friend Old Shatterhand. Marie Versini played Winnetou’s sister Nscho-tschi, who also became friends with Old Shatterhand. With this role, she became – overnight - tremendously popular in Germany. She would appear in four more Karl May adventures: Der Schut/The Shoot (Robert Siodmak, 1964), Durchs wilde Kurdistan/Wild Kurdistan (Franz Josef Gottlieb, 1965), Im Reich des silbernen Löwen/Attack of the Kurds (Franz Josef Gottlieb, 1965) and Winnetou und sein Freund Old Firehand/Thunder at the Border (Alfred Vohrer, 1966). Besides the Karl May films, she also took part in the popular German productions Kennwort...Reiher/The River Line (Rudolf Jugert, 1964) and Liebesnächte in der Taiga/Code Name Kill (Harald Philipp, 1967), and in the French war film Paris brûle-t-il?/Is Paris Burning? (René Clément, 1966) with Jean-Paul Belmondo.
In the 1970s her activity in front of the film cameras diminished, but she was regularly seen in TV productions. To her later work belong an episode of the serial Paul Temple: Antique Death (1970), Der Lift/The Elevator (Georg Tressler, 1972), Pour une poignée d'herbes sauvages (1973), an episode of the serial Arsène Lupin: Le film révélateur (1974), the serial Die Pawlaks/The Pawlaks (Wolfgang Staudte, 1982) and the serial Die schöne Wilhelmine/The Beautiful Wilhelmine (1984). In 2007 she returned to the screen in the documentary Winnetou darf nicht sterben/Winnetou May Not Die (Oliver Schwehm, 2007), a portrait of Pierre Brice. Marie Versini published two books: her memoirs Ich war Winnetous Schwester/I Was Winnetou’s Sister (2003), and the Western novel Rätsel um N.T/ Mysteries Around N.T. (2008). In 1974 Marie Versini married to author and director Pierre Viallet, with whom she often cooperated. He passed away in 2013. On 22 November 2021, Marie Versini died at the age of 81 in Guingamp, Brittany.
Source: marie-versini.de, Thomas Staedeli (Cyranos), AllMovie, Wikipedia (German), and IMDb.
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German postcard by Hias Schasko Postkarten, München. Photo: Filmverlag der Autoren. Publicity still for Liebe ist kälter als der Tod/Love Is Colder Than Death (Rainer Werner Fassbinder, 1969).
Rainer Werner Fassbinder (1945-1982) was a German film director, screenwriter, film producer and actor. Fassbinder was part of the New German Cinema movement. Starting at age 21, Fassbinder made over forty films and TV dramas in fifteen years, along with directing numerous plays for the theatre. He also acted in nineteen of his own films as well as for other directors. Fassbinder died in 1982 at the age of 37 from a lethal cocktail of cocaine and barbiturates.
Rainer Werner Fassbinder was born in Bavaria in the small town of Bad Wörishofen in 1945. The aftermath of World War II deeply marked his childhood and the lives of his bourgeois family. He was the only child of Liselotte Pempeit, a translator and Helmut Fassbinder, a doctor who worked out of the couple's apartment in Sendlinger Strasse, near Munich's red light district. In 1951, his parents divorced. Helmut moved to Cologne while Liselotte raised her son as a single parent in Munich. In order to support herself and her child, Pempeit took in boarders and found employment as a German to English translator. When she was working, she often sent her son to the cinema in order to concentrate. Later in life, Fassbinder claimed that he saw a film nearly every day and sometimes as many as three or four. As he was often left alone, he became independent and uncontrollable. He clashed with his mother's younger lover Siggi, who lived with them when Fassbinder was around eight or nine years old. He had a similar difficult relationship with the much older journalist Wolff Eder, who became his stepfather in 1959. Early in his adolescence, Fassbinder identified as homosexual. As a teen, Fassbinder was sent to boarding school. His time there was marred by his repeated escape attempts and he eventually left school before any final examinations. At the age of 15, he moved to Cologne and stayed with his father for a couple of years while attending night school. To earn money, he worked small jobs and helped his father who rented shabby apartments to immigrant workers. Around this time, Fassbinder began writing short plays and stories and poems. In 1963, aged eighteen, Fassbinder returned to Munich with plans to attend night school with the idea to eventually study theatrical science. Following his mother's advice, he took acting lessons and from 1964 to 1966 attended the Fridl-Leonhard Studio for actors in Munich. There, he met Hanna Schygulla, who would become one of his most important actors. During this time, he made his first 8mm films and took on small acting roles, assistant director, and sound man. During this period, he also wrote the tragic-comic play: Drops on Hot Stones. To gain entry to the Berlin Film School, Fassbinder submitted a film version of his play Parallels. He also entered several 8 mm films including This Night (now considered lost) but he was turned down for admission, as were the later film directors Werner Schroeter and Rosa von Praunheim. He returned to Munich where he continued with his writing. He also made two short films, Der Stadtstreicher,/The City Tramp (1965) and Das Kleine Chaos/The Little Chaos (1966). Shot in black and white, they were financed by Fassbinder's lover, Christoph Roser, an aspiring actor, in exchange for leading roles. Fassbinder acted in both of these films which also featured Irm Hermann. In the latter, his mother – under the name of Lilo Pempeit – played the first of many parts in her son's films.
In 1967 Rainer Werner Fassbinder joined the Munich Action-Theater, where he was active as an actor, director and script writer. After two months he became the company's leader. In April 1968 Fassbinder directed the premiere production of his play Katzelmacher, the story of a foreign worker from Greece who becomes the object of intense racial, sexual, and political hatred among a group of Bavarian slackers. A few weeks later, in May 1968, the Action-Theater was disbanded after its theatre was wrecked by one of its founders, jealous of Fassbinder's growing power within the group. It promptly reformed as the Anti-Theater under Fassbinder's direction. The troupe lived and performed together. This close-knit group of young actors included among them Fassbinder, Peer Raben, Harry Baer and Kurt Raab, who along with Hanna Schygulla and Irm Hermann became the most important members of his cinematic stock company. Working with the Anti-Theater, Fassbinder continued writing, directing and acting. In the space of eighteen months he directed twelve plays. Of these twelve plays, four were written by Fassbinder; he rewrote five others. The style of his stage directing closely resembled that of his early films, a mixture of choreographed movement and static poses, taking its cues not from the traditions of stage theatre, but from musicals, cabaret, films and the student protest movement. Fassbinder used his theatrical work as a springboard for making films. Shot in black and white with a shoestring budget in April 1969, Fassbinder's first feature-length film, Liebe ist kälter als der Tod/Love is Colder than Death (1969), was a deconstruction of the American gangster films of the 1930s, 1940s and 1950s. Fassbinder plays the lead role of Franz, a small-time pimp who is torn between his mistress Joanna, a prostitute (Hanna Schygulla), and his friend Bruno, a gangster sent after Franz by the syndicate that he has refused to join. His second film, Katzelmacher (1969), was received more positively, garnering five prizes after its debut at Mannheim. From then on, Fassbinder centered his efforts in his career as film director, but he maintained an intermittent foothold in the theatre until his death. Fassbinder’s first ten films (1969–1971) were an extension of his work in the theatre, shot usually with a static camera and with deliberately unnaturalistic dialogue. Wikipedia: “He was strongly influenced by Brecht's Verfremdungseffekt (alienation effect) and the French New Wave cinema, particularly the works of Jean-Luc Godard.” Fassbinder developed his rapid working methods early. Because he knew his actors and technicians so well, Fassbinder was able to complete as many as four or five films per year on extremely low budgets. This allowed him to compete successfully for the government grants needed to continue making films. Unlike the other major auteurs of the New German Cinema, Volker Schlöndorff, Werner Herzog and Wim Wenders, who started out making films, Fassbinder's stage background was evident throughout his work.
In 1971, Rainer Werner Fassbinder took an eight-month break from filmmaking. During this time, Fassbinder turned for a model to Hollywood melodrama, particularly the films German émigré Douglas Sirk made in Hollywood for Universal-International in the 1950s: All That Heaven Allows, Magnificent Obsession and Imitation of Life. Fassbinder was attracted to these films not only because of their entertainment value, but also for their depiction of various kinds of repression and exploitation. Fassbinder scored his first domestic commercial success with Händler der vier Jahreszeiten/The Merchant of Four Seasons (1971). Loneliness is a common theme in Fassbinder's work, together with the idea that power becomes a determining factor in all human relationships. His characters yearn for love, but seem condemned to exert an often violent control over those around them. A good example is Die bitteren Tränen der Petra von Kant/The Bitter Tears of Petra von Kant (1972) which was adapted by Fassbinder from his plays. Wildwechsel/Jailbait (1973 is a bleak story of teenage angst, set in industrial northern Germany during the 1950s. Like in many other of his films, Fassbinder analyses lower middle class life with characters who, unable to articulate their feelings, bury them in inane phrases and violent acts. Fassbinder first gained international success with Angst essen Seele auf/Fear Eats the Soul (1974). which won the International Critics Prize at Cannes and was acclaimed by critics everywhere as one of 1974's best films. Fear Eats the Soul was loosely inspired by Sirk's All That Heaven Allows (1955). It details the vicious response of family and community to a lonely aging white cleaning lady (Brigitte Mira) who marries a muscular, much younger black Moroccan immigrant worker. In these films, Fassbinder explored how deep-rooted prejudices about race, sex, sexual orientation, politics and class are inherent in society, while also tackling his trademark subject of the everyday fascism of family life and friendship. He learned how to handle all phases of production, from writing and acting to direction and theatre management. This versatility surfaced in his films where he served as composer, production designer, cinematographer, producer and editor.
Rainer Werner Fassbinder’s final films, from around 1977 until his death, were more varied, with international actors sometimes used and the stock company disbanded, although the casts of some films were still filled with Fassbinder regulars. Despair (1978) is based upon the 1936 novel of the same name by Vladimir Nabokov, adapted by Tom Stoppard and featuring Dirk Bogarde. It was made on a budget of 6,000,000 DEM, exceeding the total cost of Fassbinder's first fifteen films. In einem Jahr mit 13 Monden/In a Year of Thirteen Moons (1978) is Fassbinder most personal and bleakest work. The film follows the tragic life of Elvira, a transsexual formerly known as Erwin. In the last few days before her suicide, she decides to visit some of the important people and places in her life. Fassbinder became increasingly more idiosyncratic in terms of plot, form and subject matter in films like his greatest success Die Ehe der Maria Braun/The Marriage of Maria Braun (1979), Die Dritte Generation/The Third Generation (1979) and Querelle (1982). Returning to his explorations of German history, Fassbinder finally realized his dream of adapting Alfred Döblin's 1929 novel Berlin Alexanderplatz (1980). A television series running more than 13 hours, it was the culmination of the director's inter-related themes of love, life, and power. Fassbinder took on the Nazi period with Lili Marleen (1981), an international co production, shot in English and with a large budget. The script was vaguely based on the autobiography of World War II singer Lale Andersen, The Sky Has Many Colors. He articulated his themes in the bourgeois milieu with his trilogy about women in post-fascist Germany: Die Ehe der Maria Braun/The Marriage of Maria Braun (1979), Lola (1981) and Die Sehnsucht der Veronika Voss/Veronika Voss (1982), for which he won the Golden Bear at the 32nd Berlin International Film Festival. Fassbinder did not live to see the premiere of his last film, Querelle (1982), based on Jean Genet's novel Querelle de Brest. The plot follows the title character, a handsome sailor (Brad Davis) who is a thief and hustler. Frustrated in a homoerotic relationship with his own brother, Querelle betrays those who love him and pays them even with murder.
Rainer Werner Fassbinder had sexual relationships with both men and women. He rarely kept his professional and personal life separate and was known to cast family, friends and lovers in his films. Early in his career, he had a lasting, but fractured relationship with Irm Hermann, a former secretary whom he forced to become an actress. Fassbinder usually cast her in unglamorous roles, most notably as the unfaithful wife in The Merchant of Four Seasons and the silent abused assistant in The Bitter Tears of Petra von Kant. In 1969, while portraying the lead role in the T.V film Baal under the direction of Volker Schlöndorff, Fassbinder met Günther Kaufmann, a black Bavarian actor who had a minor role in the film. Despite the fact that Kaufmann was married and had two children, Fassbinder fell madly in love with him. The two began a turbulent affair which ultimately affected the production of Baal. Fassbinder tried to buy Kaufmann's love by casting him in major roles in his films and buying him expensive gifts. The relationship came to an end when Kaufmann became romantically involved with composer Peer Raben. After the end of their relationship, Fassbinder continued to cast Kaufmann in his films, albeit in minor roles. Kaufmann appeared in fourteen of Fassbinder's films, with the lead role in Whity (1971). Although he claimed to be opposed to matrimony as an institution, in 1970 Fassbinder married Ingrid Caven, an actress who regularly appeared in his films. Their wedding reception was recycled in the film he was making at that time, The American Soldier. Their relationship of mutual admiration survived the complete failure of their two-year marriage. In 1971, Fassbinder began a relationship with El Hedi ben Salem, a Moroccan Berber who had left his wife and five children the previous year, after meeting him at a gay bathhouse in Paris. Over the next three years, Salem appeared in several Fassbinder productions. His best known role was Ali in Ali: Fear Eats the Soul (1974). Their three-year relationship was punctuated with jealousy, violence and heavy drug and alcohol use. Fassbinder finally ended the relationship in 1974 due to Salem's chronic alcoholism and tendency to become violent when he drank. Shortly after the breakup, Salem went to France where he was arrested and imprisoned. He hanged himself while in custody in 1977. News of Salem's suicide was kept from Fassbinder for years. He eventually found out about his former lover's death shortly before his own death in 1982 and dedicated his last film, Querelle, to Salem. Fassbinder's next lover was Armin Meier. Meier was a near illiterate former butcher who had spent his early years in an orphanage. He also appeared in several Fassbinder films in this period. After Fassbinder ended the relationship in 1978, Meier deliberately consumed four bottles of sleeping pills and alcohol in the kitchen of the apartment he and Fassbinder had previously shared. His body was found a week later. In the last four years of his life, his companion was Juliane Lorenz), the editor of his films during the last years of his life. On the night of 10 June 1982, Fassbinder took an overdose of cocaine and sleeping pills. When he was found, an unfinished script for a film on Rosa Luxemburg was lying next to him. His death marked the end of New German Cinema.
Steve Cohn at IMDb: “Above all, Rainer Werner Fassbinder was a rebel whose life and art was marked by gross contradiction. Known for his trademark leather jacket and grungy appearance, Fassbinder cruised the bar scene by night, looking for sex and drugs, yet he maintained a flawless work ethic by day. Actors and actresses recount disturbing stories of his brutality toward them, yet his pictures demonstrate his deep sensitivity to social misfits and his hatred of institutionalized violence.”
Sources: Steve Cohn (IMDb), Wikipedia, and IMDb.